Question: Were would one find the sheets where Ottoman's created illuminated decorations?

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

Answer: muraqqa

<hl> Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. <hl> It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in <hl> muraqqa <hl> or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.


Question: What is another name for an Ottoman miniature?

Answer: taswir

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. <hl> It was a part of the Ottoman Book Arts together with the Ottoman miniature ( taswir ), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). <hl> In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (<hl> taswir <hl>), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

It was a part of the Ottoman Book Arts together with the Ottoman miniature ( <hl> taswir <hl> ), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru).


Question: Ottoman calligraphy can also be referred to as what?

Answer: hat

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. <hl> It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy ( hat ), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). <hl> In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (<hl> hat <hl>), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy ( <hl> hat <hl> ), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru).


Question: Who commissioned illustrated manuscripts in the Ottoman empire?

Answer: the Sultan or the administrators of the court

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). <hl> In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court . <hl> In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by <hl> the Sultan or the administrators of the court <hl>. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by <hl> the Sultan or the administrators of the court <hl> .


Question: What palace was the place of creation for illustrated manuscripts?

Answer: Topkapi Palace

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. <hl> In Topkapi Palace , these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. <hl> Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In <hl> Topkapi Palace <hl>, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings.

In <hl> Topkapi Palace <hl> , these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists.


Question: Which art was important in religious symbolism and as a decoration in the Ottoman empire?

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

Answer: carpet weaving

<hl> The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. <hl> The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

The art of <hl> carpet weaving <hl> was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.


Question: What was the custom for those wearing shoes indoors in the Ottoman empire?

Answer: it was customary to remove one's shoes

<hl> The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. <hl> The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as <hl> it was customary to remove one's shoes <hl> in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.


Question: Where did carpet weaving in the Empire originate?

Answer: the nomadic cultures of central Asia

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. <hl> The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. <hl> Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in <hl> the nomadic cultures of central Asia <hl> (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.


Question: Where did carpet weaving initially spread to inside of the Empire?

Answer: Anatolia

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. <hl> The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia . <hl> Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of <hl> Anatolia <hl>. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of <hl> Anatolia <hl> .


Question: Kilims were used by Turks to provide insulation where?

Answer: walls and doorways

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. <hl> Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways , where they provided additional insulation. <hl> They were also commonly donated to mosques, which often amassed large collections of them.

The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on <hl> walls and doorways <hl>, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them.

Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on <hl> walls and doorways <hl> , where they provided additional insulation.


Question: The elites of the Ottoman empire found what type of music important?

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Answer: Ottoman classical music

<hl> Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. <hl> Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

<hl> Ottoman classical music <hl> was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.


Question: Many of the Sultans of the Ottoman empire were accomplished at being what?

Answer: musicians and composers

<hl> Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. <hl> Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished <hl> musicians and composers <hl> themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.


Question: The sultan known by what name has compositions which are still performed today?

Answer: Selim III

<hl> Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III , whose compositions are often still performed today. <hl> Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as <hl> Selim III <hl>, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as <hl> Selim III <hl> , whose compositions are often still performed today.


Question: What rhythmic units does Ottoman classical music use?

Answer: units called usul

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. <hl> Compositionally, it is organised around rhythmic units called usul , which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes. <hl>

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic <hl> units called usul <hl>, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.

Compositionally, it is organised around rhythmic <hl> units called usul <hl> , which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.


Question: What are the melodic units used by Ottoman classical music?

Answer: makam

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. <hl> Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam , which bear some resemblance to Western musical modes. <hl>

Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called <hl> makam <hl>, which bear some resemblance to Western musical modes.

Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called <hl> makam <hl> , which bear some resemblance to Western musical modes.


Question: What are the three most used Anatolian and central asian instruments in Ottoman Classical music?

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

Answer: the saz, the bağlama, the kemence

<hl> The instruments used are a mixture of Anatolian and Central Asian instruments ( the saz, the bağlama, the kemence ), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). <hl> Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (<hl> the saz, the bağlama, the kemence <hl>), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments ( <hl> the saz, the bağlama, the kemence <hl> ), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano).


Question: Which Middle Eastern instruments can be heard in Ottoman classical music?

Answer: the ud, the tanbur, the kanun, the ney

<hl> The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments ( the ud, the tanbur, the kanun, the ney ), and—later in the tradition—Western instruments (the violin and the piano). <hl> Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (<hl> the ud, the tanbur, the kanun, the ney <hl>), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments ( <hl> the ud, the tanbur, the kanun, the ney <hl> ), and—later in the tradition—Western instruments (the violin and the piano).


Question: In late Ottoman classical music one can find Western instruments, what were they?

Answer: the violin and the piano

<hl> The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments ( the violin and the piano ). <hl> Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (<hl> the violin and the piano <hl>). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments ( <hl> the violin and the piano <hl> ).


Question: There were two main style of music in the Ottoman empire, what were they?

Answer: classical music, and folk music

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). <hl> Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music . <hl> In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman <hl> classical music, and folk music <hl>. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman <hl> classical music, and folk music <hl> .


Question: What were the most distinctive style of music in the Ottoman provinces?

Answer: Janissary Music, Roma music, Belly dance, Turkish folk music

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. <hl> Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music . <hl>

The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: <hl> Janissary Music, Roma music, Belly dance, Turkish folk music <hl>.

Some of the distinctive styles were: <hl> Janissary Music, Roma music, Belly dance, Turkish folk music <hl> .


Question: The cuisine known as Ottoman cuisine is in reference to the food eaten where?

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

Answer: the capital, Istanbul, and the regional capital cities

<hl> Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities , where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. <hl> This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

Ottoman cuisine refers to the cuisine of <hl> the capital, Istanbul, and the regional capital cities <hl>, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

Ottoman cuisine refers to the cuisine of <hl> the capital, Istanbul, and the regional capital cities <hl> , where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared.


Question: In what kitchen's was Ottoman cuisine perfected?

Answer: the Imperial Palace's kitchens

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. <hl> This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. <hl> The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in <hl> the Imperial Palace's kitchens <hl> by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.


Question: What is one type of religious event that the general public may come to experience the creations of the Imperial Palace?

Answer: Ramadan

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. <hl> The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population. <hl>

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through <hl> Ramadan <hl> events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.


Question: Preparing food at the Yalıs of the Pashas was one way Ottoman Cuisine might spread to whom?

Answer: the population

<hl> Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. <hl> This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of <hl> the population <hl> regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.


Question: What did the chefs ingredients in the Imperial Palace's kitchens?

Answer: create and experiment

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. <hl> This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. <hl> The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.

Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to <hl> create and experiment <hl> with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population.


Question: Turkish cuisine originates from what source?

Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Answer: a shared Ottoman cuisine

<hl> Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. <hl> Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from <hl> a shared Ottoman cuisine <hl>, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from <hl> a shared Ottoman cuisine <hl> , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine.


Question: The cuisine of what territories are descended from Ottoman cuisine?

Answer: former Ottoman territories

<hl> Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. <hl> Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of <hl> former Ottoman territories <hl> today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.


Question: Turkish and Greek cuisine are descended from Ottoman Cuisine, along with the food of what other regions?

Answer: Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine

<hl> Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine . <hl> Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, <hl> Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine <hl>. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, <hl> Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine <hl> .


Question: Turkish coffee is descended from what?

Answer: Ottoman cuisine

<hl> Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. <hl> Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared <hl> Ottoman cuisine <hl>, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared <hl> Ottoman cuisine <hl> , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine.


Question: Pita bread descends from what type of cuisine?

Answer: Ottoman cuisine

<hl> Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. <hl> Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared <hl> Ottoman cuisine <hl>, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more.

Much of the cuisine of former Ottoman territories today is descended from a shared <hl> Ottoman cuisine <hl> , especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine.


Question: In what century did the Ottoman's start to desire foreign manuscripts?

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

Answer: 15th Century

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. <hl> A great part of this desire for local and foreign manuscripts arose in the 15th Century . <hl> Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the <hl> 15th Century <hl>. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

A great part of this desire for local and foreign manuscripts arose in the <hl> 15th Century <hl> .


Question: Which sultan ordered a Greek scholar to do translations of work by Ptolemy?

Answer: Sultan Mehmet II

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. <hl> Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. <hl> Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. <hl> Sultan Mehmet II <hl> ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.


Question: Who did an Ottoman sultan order to translate work by Ptolemy?

Answer: Georgios Amiroutzes

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. <hl> Sultan Mehmet II ordered Georgios Amiroutzes , a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. <hl> Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered <hl> Georgios Amiroutzes <hl>, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

Sultan Mehmet II ordered <hl> Georgios Amiroutzes <hl> , a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy.


Question: How many years did Ali Qushji spend in Istanbul?

Answer: two or three years

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. <hl> Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul. <hl>

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent <hl> two or three years <hl> before his death in Istanbul.


Question: Where was Ali Qushji from?

Answer: originally from Samarkand

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. <hl> Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand - who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul. <hl>

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist <hl> originally from Samarkand <hl>- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.

Another example is Ali Qushji -an astronomer, mathematician and physicist <hl> originally from Samarkand <hl> - who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul.


Question: When did European sport clubs begin to form in the Ottoman empire?

The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir.

Answer: 19th century

The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. <hl> European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. <hl> The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir.

The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in <hl> 19th century <hl> Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir.


Question: Where did football matches become to be popular in the Ottoman empire?

Answer: Constantinople

The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. <hl> European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople . <hl> The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir.

The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century <hl> Constantinople <hl>. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir.

European model sports clubs were formed with the spreading popularity of football matches in 19th century <hl> Constantinople <hl> .


Question: What was the leading sport club in 1905?

Answer: Galatasaray Sports Club

The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. <hl> The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. <hl> Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir.

The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), <hl> Galatasaray Sports Club <hl> (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir.


Question: In what year did the Altay Sports Club form?

Answer: 1914

The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. <hl> Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club ( 1914 ) <hl> and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir.

The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (<hl> 1914 <hl>) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir.

Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club ( <hl> 1914 <hl> )


Question: What was the football club known as Ülküspor formerly known as?

Answer: Turkish Fatherland Football Club

The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. <hl> Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir. <hl>

The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and <hl> Turkish Fatherland Football Club <hl> (later Ülküspor) (1914) of İzmir.


Question: Which philosophy branch is concerned with issues surrounding ontology?

Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy. The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind, whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time).

Answer: Philosophy of space and time

<hl> Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. <hl> While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy. The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind, whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time).

<hl> Philosophy of space and time <hl> is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy. The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind, whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time).


Question: The philosophy of space and time was inspired by what kind of philosophy?

Answer: early analytic philosophy

Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. <hl> While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy . <hl> The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind, whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time).

Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of <hl> early analytic philosophy <hl>. The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind, whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time).

While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of <hl> early analytic philosophy <hl> .


Question: The philosophy of space and time focuses on whether or not time and space exist independently of what?

Answer: the mind

Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy. <hl> The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind , whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time). <hl>

Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy. The subject focuses on a number of basic issues, including whether or not time and space exist independently of <hl> the mind <hl>, whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time).

The subject focuses on a number of basic issues, including whether or not time and space exist independently of <hl> the mind <hl> , whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time).


Question: The philosophy of space and time focuses what kind of flow within time?

Answer: unidirectional

Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy. <hl> The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind, whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time). <hl>

Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy. The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind, whether they exist independently of one another, what accounts for time's apparently <hl> unidirectional <hl> flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time).


Question: Who expounded the earliest recorded Western philosophy of time?

The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.

Answer: Ptahhotep

<hl> The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." <hl> The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.

The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker <hl> Ptahhotep <hl> (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.


Question: When do the Vedas date back to?

Answer: late 2nd millennium BC

The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." <hl> The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC , describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. <hl> Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.

The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the <hl> late 2nd millennium BC <hl>, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.

The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the <hl> late 2nd millennium BC <hl> , describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years.


Question: Which philosophies are the Vedas oriented with?

Answer: Indian philosophy and Hindu philosophy

The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." <hl> The Vedas, the earliest texts on Indian philosophy and Hindu philosophy , dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. <hl> Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.

The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." The Vedas, the earliest texts on <hl> Indian philosophy and Hindu philosophy <hl>, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.

The Vedas, the earliest texts on <hl> Indian philosophy and Hindu philosophy <hl> , dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years.


Question: What do the Vedas describe?

Answer: ancient Hindu cosmology

The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." <hl> The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology , in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. <hl> Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.

The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe <hl> ancient Hindu cosmology <hl>, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.

The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe <hl> ancient Hindu cosmology <hl> , in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years.


Question: How long is the cycle of rebirth discussed in the Vedas?

Answer: 4,320,000 years

The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." <hl> The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years . <hl> Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.

The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting <hl> 4,320,000 years <hl>. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.

The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting <hl> 4,320,000 years <hl> .


Question: Which christian philosopher ruminated on time?

In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6).

Answer: St. Augustine

<hl> In Book 11 of St. Augustine 's Confessions, he ruminates on the nature of time, asking, "What then is time? <hl> If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6).

In Book 11 of <hl> St. Augustine <hl>'s Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6).

In Book 11 of <hl> St. Augustine <hl> 's Confessions, he ruminates on the nature of time, asking, "What then is time?


Question: What did St. Augustine comment on in Book 11, regarding thinking about time?

Answer: the difficulty

In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." <hl> He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." <hl> But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6).

In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on <hl> the difficulty <hl> of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6).


Question: Who presented the first philosophical argument for the reality of Creation?

Answer: Augustine

In Book 11 of St. <hl> Augustine 's Confessions, he ruminates on the nature of time, asking, "What then is time? <hl> If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6).

In Book 11 of St. <hl> Augustine <hl>'s Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6).

<hl> Augustine <hl> 's Confessions, he ruminates on the nature of time, asking, "What then is time?


Question: What did Augustine say that the knowledge of time depended on?

Answer: the knowledge of the movement of things

In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." <hl> But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things , and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6). <hl>

In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on <hl> the knowledge of the movement of things <hl>, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6).

But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on <hl> the knowledge of the movement of things <hl> , and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6).


Question: Where did Augustine say time could not appear?

Answer: where there are no creatures to measure its passing

In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." <hl> But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6). <hl>

In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be <hl> where there are no creatures to measure its passing <hl> (Confessions Book XI ¶30; City of God Book XI ch.6).